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The Biblical Quotations in the Preslav translations of the Dogmatic writings of Athanasius have not been subject of a linguistic treatise. The present article analyses for the first time the citations in the Second Oratio against the Arians. Citations amount to about one fifth of the text. The examination of the earliest known Slavonic text, presented in the manuscript 968 of the Pogodin collection, reveals that the translation is made verbatim et literatim choosing constructions that are foreign to Slavonic. The translator used a Greek copy which corresponds to the so-called x-tradition preserved in Greek manuscripts from the 10th–12th c. The Quotations are translated directly from the original without checking the earlier Old Bulgarian translations of the Gospel and the Apostle. The morphology and the lexicon link the text with the South Slavonic area and theological concepts of the early Preslav school. This phenomenon allows me to suggest that there existed one free translation made by Konstantin of Preslav in 906 or 907, and a literal one with the pedagogical purpose to present the genuine Speech of Athanasius to a reading public that was not bilingual.
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Rukopisni zbornik plovdivske Biblioteke “Ivan Vazov”, s kataloškom oznakom Bosnensko sborniče 116(54), po jednom odlomku sadržaja već je postao čuven. Taj njegov dio pod naslovom Početije svijeta, bio je zaokupio pažnju autora koji su istraživali elemente heretičnih učenja u apokrifima. Na vezu apokrifa Početije svijeta s Baruhovim otkrovenjem, s jedne strane, kao i s tekstom Tajne knjige, koji je sačuvan samo u verziji na latinskom jeziku poznatoj pod naslovom Joannis et Apostoli et Evangelistae Interrogatio, s druge strane, precizno je ukazao već Jordan Ivanov.1 I pored toga što je sadržaj posljednjeg apokrifa označen kao bogomilski par excellence, jedini momenat po kojem se Početije svijeta slaže s njim nije se mogao na takav način odrediti, ali je taj detalj svakako pridonio povezivanju legende s bosanskim srednjovjekovnim područjem. Naime, i prema jednom i prema drugom tekstu, onaj koji je zaveo Adama i Evu nije tek zmija, već čovjekolika zmija, odnosno Krasna Djevica. Pritom je bilješka u kojoj je spomenut lokalitet Bossina u latinskoj Bečkoj tajnoj knjizi već bila protumačena kao naznaka mogućeg bosanskog porijekla njenog osnovnog teksta, pa je i ova neobična figura čovjekolikog zavodnika Adama i Eve, koja je tu opisana, označena kao bosanska. Iako je uskoro razjašnjeno da je matrica teksta Tajne knjige najvjerovatnje bizantska, jedan drugi detalj mogao bi biti dokaz da je prijedložak latinskog teksta bio slavenski. Radi se o jednoj karakterističnoj prevodilačkoj pogrešci.
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When studying the manuscript heritage of any author the task of deciphering of the texts unavailable for visual reading arises. These are author’s and censor’s strikethrough texts, field labels, erasures, various corrections, decay of the text when in storage. Modern information technologies and optoelectronic methods considerably enhance opportunities for studying hand-written texts and provide scholars with new tools of basic disciplines, such as source studies, paleography, archaeography, codicology and textual criticism. The Manuscript Department of the National Library of Russia elaborated a technique of examination and description of the documents, preparation of the publications, among them facsimile, that permits to conduct researches on the reconstruction of incomplete texts, to give an expert opinion on technical, editorial and other modifications of the manuscripts, to restore an original, authentic text of the resource. The article presents the results of codicological analysis of Dostoevsky’s manuscripts: the description of an optoelectronic method for reconstruction of the strikethrough fragments of the hand-written text, the restored strikethrough fragments in the letters of F.M.Dostoevsky to A.E. Vrangel dated by March 23, 1856, July 14, 1856, March 9, 1857 are published.
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The article deals with the earliest mathematically-oriented approaches to the literary text. It presents the problems concerning the subject, goals and cognitive limits of the mathematically-oriented poetics. The mathematical inspirations of the modern poetry that illustrate some numerological concepts are also analyzed, especially the obvious ones in the works of Stéphane Mallarmé and Velimir Khlebnikov. The paper recalls the theoretical heritage of rarely mentioned today researchers from the late 19th and early 20th century, such as Moritz Drobisch and Wincenty Lutoslawski. Drobisch wrote the first statistical description of the ancient prosody. Lutoslawski set up the basics of stylometry and by means of 500 items, called stylemmas, used this method to reconstruct the chronology of Plato’s Dialogues. Generally speaking, the first mathematical approaches to the literature did not constitute an integral scientific trend. They were rather individual practical insights partially included in the overall methods of positivism, based on the ideal of precision and rationality. They presupposed that literature must be studied and interpreted by empirical experiments, accurate data and provable definitions of universal regularities. Although undoubtedly influenced by the positivism of the 19 th century, mathematical methods in literary studies were not isolated from the overall artistic culture of that time. The aura of symbolism, decadence, modernism and Belle Époque were born. They all together showed the split between the limitation of accuracy of the mathematical data and the beautiful infinity of mathematical objects and symbols. Therefore, the article emphasizes the role of cmathematical methods among the first structural-semiotic interpretations.
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The paper offers a discussion on number symbolism in “The Magic Mountain” and more specifically on Thomas Mann’s utilization of the repertoire of symbols belonging to number seven. The analysis focuses on the ways in which the multiple heptads in the novel rule over both its structure and contents. Hypotheses have been suggested about the various functions of the numerological references and the overall design implicitly present in them.
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The article analyses from a comparative point of view the topic of travel and the motif of crossing a river by a ford or over a bridge in the works of various authors from the Balkans. The bridge as an image, as a symbol of common Balkan adherence in general, and the building of a bridge as a motif are viewed as genetically connected with the issue of accepting the Other; they are also connected with the most enduring variety of Balkan myths the most exploited ones of which in our folklore and our literatures are the myths about the immuring of people in bridges and about people inseparable after death. Three Balkan literary works are being compared The Bridge over Drina by Ivo Andich, The Bridge with the Three Arcs by Ismail Kadare and The Stone Bridge over Rositsa by Angel Karaliychev. The paper looks into the emancipated presence of Bulgarian literature in the context of the general Balkan literature.
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This article intends to examine the symbolic significance of the imagery and the form of the Anglo-Irish poet Louis MacNeice’s poetry of the 1930s in terms of certain characteristic aspects of his representation of his sense of personal and social crisis within the context of a turbulent historical period that covers the years leading up to the Second World War. The article argues that the terms of this representation are inseparable from Louis MacNeice’s concern with, and conception of, the nature of the art of poetry and his role as a poet. Hence, this study will investigate selected poems from the poet’s work during the 1930s in the light of his critical essays that explore and comment on his own as well as others’ work, at a time when the function of poetry in relation to historical and social dilemmas had become an issue of debate in literary circles.
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The article presents some common features in the work of three contemporary poets in Poland and Lithuania. The concept of historical memory forms the theoretical basis of the discussion. The focus is on the artistic interpretation of the images of the past and their mediating role in the retransmission of its messages. The interest in the poetry of the European Tatars is a relatively new research problem, and for the Bulgarian reader this poetry is still unknown and not translated to date.
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Samba, rumba i cha–cha–cha u ritam & blues a(ra)n(ga)žmanu, (Milko Valent i poezija prekoračenja)?
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In this study, I analyse the interconnections between language and identity in the literatures written in minority languages in Fennoscandia (Meänkieli, Saami and Kven). I concentrate on authors who write in their native languages (as well), and who can move between minority and majority language both as ordinary people and as writers. These literatures are small bodies, because there is a small number of people who can still read and write these languages.Minority literatures often deal with the relationship between minority and majority (dominant) cultures describing them by means of power relations. In the minority literatures I am going to deal with past, reconstructed on the horizon of the present, vizualised in a narrative frame, represeting an integral part of the minority writers’ great narratives, whose aim is to write their own minority histories, as opposed to the official ones. When examining the works of Fennoscandian minority writers, we can notice many a time that they build their own life-stories into the past recalled for the sake of community. In my study, I analyse some important elements of the writers’ narrative-building. I will be looking for answers for the following questions: What kind of power relations determine the life of the given minorities? How do they relate to different borders in their everyday life? How firm the virtual borders created by minority and majority populations are and what kind of consequences crossing borders has.As the theoretical basis of the lecture is concerned, I analyise the topic from the perspective of microhistorical research and the psychological study of identity and stigma.
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Yolanda Castaño (1977, Santiago de Compostela, Spain), BA in Spanish Language and Literature and with Media Studies. Apart from being a poet, editor and a very active culture manager, Yolanda Castaño has been a columnist and has worked in Galician TV during many years (Galician Audiovisual Academy Award as ‘Best TV Communicator 2005’). She has published 6 poetry books in Galician and Spanish (Depth of Field and The second tongue are her last titles), several chapbooks in Galician, Spanish, Chinese and Macedonian, and a pair of compilations. A finalist of the National Poetry Prize, she has won poetry awards amongst which the National Critics Award, the Espiral Maior Poetry Award, the Fundación Novacaixagalicia, the Ojo Crítico (best poetry book by a young author in Spain) and the Author of the Year Galician Booksellers’ Award stand out. She is a relevant cultural activist, regularly organizing monthly poetry reading series, festivals, literary and translation workshops, all of them hosting local to international poets (Galician Critics’ Award Best Cultural Manifestation 2014). She was the General Secretary of the Galician Language Writers Association and she has made her contribution to many written media, books, anthologies, conferences and many readings or multimedia poetry performances inside and outside Galicia, including many international poetry festivals and meetings, mostly around all Europe and America but also in Tunisia, India, China and Japan. She has coordinated collective books, art and poetry exhibitions; she has published works as an editor, as well as five poetry books for children and four of translations (from contemporary authors like Nikola Madzirov or Marko Pogačar, among others, into Spanish and Galician). She has been involved in many different experiences of blending poetry with music, performance, dance, architecture, visual and audiovisual arts, and even cookery, being awarded for that too. Part of her work has been translated into twenty five different languages. She held three international fellowships as a writer-in-residence, at the IWTCR in Rhodes (Greece) and in Villa Waldberta (Munich - Germany) in 2011, at the HIP-Beijing (China) in 2014 and at the Castle of Hawthornden (Scotland) in 2016.
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Patrik Kovalski was born in Doboj, Bosnia and Herzegowina and now he lives and works on the relation Novi Sad – Veliko Gradište, Serbia. He is the author of the book of short stories Sugarfree (2005) and two poetry collections Žuč mikrokozma (The Gall of Microcosm, 2010) and Zlatna groznica (Goldenrush, 2016). The second book was awarded and published by Treći Trg and Belgrade Poetry and Book Festival. He publishes poetry and prose in magazines, group collections and in anthologies of contemporary Serbian poetry.
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In this new article, we continue the publication of a number of amphora stamps found in Histria, during the excavations in the Basilica Pârvan sector and several other older sectors. The amphora stamps under discussion originate from Sinope, Rhodos, Tauric Chersonesos, Thasos, and Heraclea Pontica. Several novelties are briefly commented upon.
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This study tries to analyze the way that colours were represented in the 17th-18th centuries’ texts. As it was impossible to fix a colour at the same intensity on a textile, the vocabulary was also unstable. In order to name a colour, people of the old times used to maje analogies with natural elements. The effect was plastic, but the semantic precision was lax. Anyway, studying colours in the old texts is an important source for social history, as it reflects some social practices and mentalities and proves that language is an essential mirror of the civilization and cultural level of a certain society.
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From the perspective of this article’s author, a certain tendency of resuscitating the paradigmatic, poetic, and symbolic dimension of the discourse can be noticed regarding the novels of historical inspiration appeared within the last years, which cannot be completely separated by a more and more obvious inclination towards the recovery of the visual, of the pictorial, and ultimately of the colour in the art of word. On one hand, all these aspects contribute to reconfigurations of some venerable categories (“the fantastic”, “the miraculous”), and on the other hand they can ease the dislocation or rather the resemantization of certain stereotypes which circulate for a long time within the literary criticism and the history of literature. Mainly based on the novels of Diana Adamek (Adio, Margot) and Doina Ruşti (Manuscrisul fanariot), the analysis revealed to the author, among other things, the fact that the imaginary infusion plays a crucial role in the new novel of historical inspiration, allowing the vision of the past to articulate itself in a lacunar and selective way, often by favouring the colourful detail, the atmosphere, the sensorial as opposed to the homogenizing project of the great legitimizing narratives of the past or the fact that, for the contemporary public, this kind of prose, with its polychrome coatings plays the role of a polyphonic instrument: it satisfies the appetite for spectacle, mystery, and living by a proxy, raising, on the other hand, ethical and epistemological problems.
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The paper analyzes literary sources from the 7th and 8th centuries that shed light on the relations between different religious groups in some areas of the Byzantine East. These sources present particular problems due to the profound changes that occurred in those territories since the reign of Giustiniano. The 7th century, in fact, was a period of radical transformations – or from a certain point of view a real rift – for the Byzantine Empire, especially for the Middle Eastern regions, which were overwhelmed by the invasions of Persian soldiers and Arabs: a transformation that involved every aspect of social, economic, religious and cultural life. The sources reveal how, especially between the end of the 7th century and the beginning of the 8th, forms of controversy intensified between Jews and Christians who, in some respects, also extended to Muslims. The Christian authors, for more than a century after the Arab conquests, however, did not directly address the question of the doctrines of Islam, but continued to turn their attention, even more than in the past, to the Jews.
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In this contribution the author explored a moment of Sidonius's fortune in the humanistic age, examining the works of three authors who endeavoured to produce the first organic systematization of the history of Latin literature; they considered the figure of Sidonius from different angles: as a bishop, a politician and as a writer, both in prose and in poetry. Evidently drawing from various sources, these treatises confirm a still scarce knowledge of his work in the humanistic period.
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